Luc Sante Books

Der Berühmtheitsgrad der Rolling Stones, die fast 60 Jahre aktiv sind, ist beispiellos; ihre bekanntesten Riffs und eingängigen Texte sind fest im kollektiven Gedächtnis verankert. Mit ihrer hypnotisierenden Bühnenpräsenz setzten sie Maßstäbe für Rockbands und erkannten früh, dass das Image einer Band, ihr Aussehen und Stil ebenso wichtig sind wie die Musik. Der Autor Luc Sante bemerkt, dass sie stets tadellos gekleidet waren und ihre Präsenz vor der Kamera meisterhaft inszenierten. Dies machte sie zu einem begehrten Motiv für viele der größten Fotografen der Geschichte. Diese aktualisierte Ausgabe dokumentiert auf über 450 Seiten die erstaunliche Geschichte der Band und ihren lässigen Lifestyle, unterstützt durch zahlreiche Fotos und Zeitdokumente. Viele Bilder aus globalen Archiven werden hier erstmals veröffentlicht. Zudem gewährt das Buch Zugang zu den privaten Archiven der Rolling Stones in New York und London, was einige Überraschungen bereithält. Es präsentiert über 450 Seiten mit fantastischen Bildern von renommierten Fotografen wie David Bailey, Annie Leibovitz und Andy Warhol sowie Essays von preisgekrönten Autoren. Ein ausführlicher Anhang mit Chronologie, Diskografie und Kurzbiografien der Fotografen rundet das Werk ab.

Walker Evans (1903–75) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression o

In his second collection (after Kill All Your Darlings, 2007), Luc Sante pays homage to Patti Smith, Rene Ricard, and Georges Simenon; traces the history of tabloids; surveys the landscape that gave birth to the Beastie Boys; explores the back alleys of vernacular photography; sounds a threnody for the forgotten dead of New York City. The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante's youth on the Lower East Side of New York in the fertile 1970s and '80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form.

"A vivid investigation into the seamy underside of nineteenth and twentieth century Paris"--

Luc Sante was born in Belgium and as a child taken by his parents to the USA. However he never considered himself a proper American. At the age of 35 he returned to Belgium to research his own history and his homeland. This volume presents Sante's memoirs of this time of self-discovery.

The narrative offers a personal exploration of the author's life through the lens of her recent transition, blending autobiographical elements with a critical analysis of the trans experience within Western culture. It delves into the complexities and challenges faced, while also addressing broader societal themes related to identity and transformation. This unique perspective provides insight into both personal and cultural dimensions of the trans journey.

This revised edition of Lucy Sante's classic explores the fascinating history of real-photo postcards, featuring 130 images that enhance the narrative. The book delves into the cultural significance and artistic value of these postcards, offering insights into their impact on communication and memory. Additionally, a new afterword provides updated reflections, making it a comprehensive resource for both enthusiasts and scholars interested in the intersection of photography and social history.

In her books and in a string of wide-ranging and inventive essays, Luc Sante has shown herself to be not only one of our pre-eminent stylists, but also a critic of uncommon power and range. She is “one of the handful of living masters of the American language, as well as a singular historian and philosopher of American experience,” says the New Yorker’s Peter Schjeldahl. Kill All Your Darlings is the first collection of Sante’s articles—many of which first appeared in the New York Review of Books and the Village Voice—and offers ample justification for such high praise. Sante is best known for her groundbreaking work in urban history (Low Life), and for a particularly penetrating form of autobiography (The Factory of Facts). These subjects are also reflected in several essays here, but it is the author’s intense and scrupulous writing about music, painting, photography, and poetry that takes center stage. Alongside meditations on cigarettes, factory work, and hipness, and her critical tour de force, “The Invention of the Blues,” Sante offers her incomparable take on icons from Arthur Rimbaud to Bob Dylan, René Magritte to Tintin, Buddy Bolden to Walker Evans, Allen Ginsberg to Robert Mapplethorpe.

Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. He is generally acknowledged as America's finest documentary photographer of the century.

Bevor Stanley Kubrick mit Kultfilmen wie Lolita, 2001 – Odyssee im Weltraum und Shining berühmt wurde, begann er seine Karriere als Fotograf bei der Zeitschrift Look. Mit 17 Jahren dokumentierte er von 1945 bis 1950 das Leben in New York, indem er Geschichten mit einem menschlichen Blickwinkel festhielt. Kubrick fotografierte eine Vielzahl von Szenen: Menschen in Waschsalons, das Treiben an der Columbia University, Sportler, Showgirls, Artisten, Schauspielerinnen, Taxifahrer, Pärchen auf Bahnsteigen, Schuhputzjungen, Boxer, Patienten im Wartezimmer, prominente Geschäftsleute, Politiker, Kinder im Vergnügungspark und Pendler in der U-Bahn. Diese frühen Fotografien zeigen sein bemerkenswertes Gespür für Komposition, Spannung und Atmosphäre und wirken wie Filmstills aus nie gedrehten Noir-Dramen. Die Sammlung umfasst rund 300 Bilder und zahlreiche reproduzierte Seiten aus dem Look-Magazin und präsentiert eine wenig bekannte Seite des Regisseurs. Die Einleitung stammt von der renommierten Fotokritikerin Lucy Sante.